About the album
Mads Vinding’s trio album from 1997, THE KINGDOM WHERE NOBODY DIES, received quite a lot of attention at home and internationally. In Denmark the album was chosen as “Best Jazz Release of the Year”, and it placed among “Top Five Albums” in the American jazz magazine Jazz Times. After 20 years, there is finally a follow-up to this classic Stunt album!
Since then, the whole world has become pianist Enrico Pieranunzi’s stage. Mads Vinding – one of Denmark’s all-time bass giants – and the ever-present drummer Alex Riel round up the trio, whose playing on this recording from the same year will remind audiences all over the world of why their collaboration was so unique. The album has been a long time in the making, but finally here it is. Sound wizard Bjarne Hansen engineered the original recordings and now he has mixed and mastered this outstanding live recor- ding into a rich listening experience.
Let these three musicians carry you away with their musical intelligence, imagination and vitality. Let the raw and liberating force of this music enthrall you. These musicians are on the same wavelength, they share maximal mutual confidence, and they know of nothing better than this intoxicating mixture of serious playfulness. Serious - because this game is based on the deepest respect for the musical foundation that these artists deconstruct and recon- struct, throwing thoughts in the air in wonderful cascades, catching them and putting them together in new combinations. Playfulness - because their interest in this music is based on ple- asure and blessed with the ease that comes from instrumental mastery and enormous musical training.
This unique collaboration came about on Mads Vinding’s initia- tive. It was a simple means of ensuring that he got to work with two of his favorite musicians. Thus this project became a labor of love, which is apparent in the efforts of all three players.
Vinding’s big, rich, elastic sound spreads out a safety net under everyone, and his means of musical expression continuously astound us. Next to him, drummer Alex Riel’s simmering, crack- ling cymbals and fiercely inspiring accentuations are a unique platform for rhythmic nuances and dynamics. Add to this an Italian pianist.
If one feels the need to compare Enrico Pieranunzi with any- body, it would be with Keith Jarrett, with whom he shares a deep expressiveness, pianistic mastery and breadth. But there are also deep differences. Pieranunzi is more generous with his music. Fortunately he has never become an exclusive artist performing but a few times a year. Pieranunzi shows up spontaneously when he is tempted by musicians that may inspire him. And this is exactly what happened when Mads Vinding called. It is this desire to express something, this pleasure in sharing a common musical language, and this joy in being challenged by and in turn challenging brothers in spirit, that oozes out of every note recor- ded one evening in November 1997 at Copenhagen Jazzhouse half a year after the famous studio session.
One unique quality in particular lifts this great constellation abo- ve a mere performance of high caliber. Despite their telepathic interplay, each musician’s individuality stays intact through their means of expression, their sharing of solos and repertoire. We hear Pieranunzi’s mixture of romantic approach and straight- forward punch. We hear Mads Vinding’s aristocratic timbre and exquisite technique, and we hear Alex Riel’s intuitive and mature expressiveness. Their generous, playful, virile and poetic musicianship blossoms in a repertoire featuring one Pieranunzi composition, Gary Peacock’s Vignette and five carefully picked standards.